Essay - Ideology and Dubbing in Franco's Spain the Ideology of Film...

Ideology and Dubbing in Franco's Spain

The Ideology of Film Dubbing in Spa*****

Introduction

Since the globalization of ***** film industry, it has been necessary to provide some form ***** translation for *****s in different languages ***** the countries where *****y are be*****g screened. As sound was not available in early cinema, subt*****les were used in all films (C*****tas, 2003). But with the advent of ***** the problem of translation took on a more complex nature. Since 1932 the world has ***** divided into nations that prefer dubbing and those that favor subtitling of films. These preferences have become deeply rooted in national view*****g habits (Gambier, 1998).

In Spain, the choice in favor of ***** was *****fluenced by nationalist considerations. Francisco Franco, El Caudillo and dictator ***** Spain, used dubbing as a form of censorship for any films that entered ***** country (D'Lugo, 1989). The unification ***** the ***** ***** one reason Franco imposed this censorship, although it served also as a vehicle ***** ***** spread of his ideology and as a means of keeping out what he and ***** junta deemed harmful to t***** Spanish culture (Del Camino, 1997). What was unique ***** Franco's censorship ***** that it remained in force for over 40 years and that the application ***** the censorship criteria would vary, usually according to ***** ideology of the minister in charge ***** censorship. The 40 years ***** it ***** was long enough to create new ways of accepting foreign information unique ***** *****, and ***** manipulating that information. The way that films were chosen and the translations made in the dialogue served to create a genre ***** ***** the Sp*****nish *****ater. Because translation of film ***** was so important, it is necessary to understand the intricacies of how it works and the philosophy behind the process of exchanging dialogue in one language for dialogue in a*****her. It ***** ***** ***** to analyze why ***** ***** so important to the interpretation of culture (alvarez, 1996).

Pol*****ical History

***** ***** years prior to the ********** of World War II, the press in Germany, Italy, Spain, and Portugal ***** subject ***** rigid Fascist *****, no less strict than that practiced ***** the USSR. Some of the worst examples of ***** press censorship introduced by military ********** in ***** 20th century ***** ***** existing in Spa***** (Newth, 2001, 21).

It is ***** to explain the political situation of the period of h*****tory in which Franco ruled as dictator, after w*****ning ***** civil war. ***** w***** not a re*****l fascist, as people believe. He had his own ideas about nationalism and that is one ***** the *****s for his ***** of ********** in Spain. He set up a censorship ***** discouraged the import of U.S. films that did not portray ***** family as Catholic and submissive, while re*****ding those who brought in or made films which portrayed the Spanish-Franco ideology, that is, of a ***** f*****mily with a mother who w*****s the center of ***** family, ***** to her husband